In an attempt to highlight Tipu Sultan’s personality, diplomacy, relationships with other rulers, foreign policies and other facets of his rule, two youths from Solapur city, Sarfaraz Ahmed and Wayez Sayed are bringing out a Marathi book named “Tipu Sultan – Patre, Hukum Name aani Itihasache Sadhne” (Tipu Sultan – Letters, Orders and History materials).
About 415 letters and 10 orders (Hukm name) of Tipu Sultan have been collected by these two youths and translated into Marathi.
The book containing Tipu’s written material is ready for release and will be published by Adv. Gaziuddin Research Center, Solapur, Maharashtra. This research centre has released five books on Tipu Sultan.
Speaking with Twocircles.net, Sarfaraz Ahmed informed that they worked for nearly six years to translate this 300-page book.They had to travel across India to collect these 415 letters written by Tipu which have been preserved in different libraries of the country, he added.
“These letters show that he had very good relations with Maratha Sardars of Maharashtra, Nizam II of Hyderabad and other Indian kings. He also contacted foreign rulers, including Napoleon Bonaparte and British rulers as a part of foreign policy, ” Ahmad added.
Come author Sayed Shah Wayez said they had to work hard to translate these letters because they were written in seven languages since Tipu Sultan used to communicate with other rulers in their mother tongue only.
Renowned activist Ram Punyani, who has written the introduction for this book, lauded the efforts and the hardwork of Sarfaraz and Wayez.
source: http://www.twocircles.net / TwoCircles.net / Home> Historical Facts> Indian Muslims> Lead Story / by Imran Inamdar, Twocirlces.net / September 22nd, 2019
Beadwork is the use of beads in fabric decoration and ornamental design. Beads were used decoratively in ancient Egypt, Greece and Rome and during the Indus Valley civilisation. However, today, the art that is handmade is becoming increasingly hard to find, which is reflected in its price point in the marketplace. Beadwork, with its symmetric or asymmetric patterning, stands out for its intricate and innovative designs. The practice of beading transmutes a jumble of beads into a meaningful whole. This Weekend Star Supplement introduces some of the unsung traditional bead artists on Ashoka Road pavement who have mastered the delicate art and made it their own.
Unsung Beadstringers of Ashoka Road
These threads full of enchantment have entangled in your caress…
No clue or hint I can fathom, how this knot could be unravelled…
Each shred hums in my body, like a stream from the heaven…
These are the lyrics of the Hindi hit song “Yeh moh moh ke dhaage…Teri ungliyon se ja uljhe” roughly translated to English.
A melange of colours, a dash of design — Craftsmen engrossed with threads and shimmering beads artistically woven around their deft fingers, their tools stacked on the roadside, usually flocked by women, intrigued by their skills on display. One would be forgiven for thinking that these are scenes from a bygone era but this is a common sight on Ashoka Road, if you have the eyes to spot it.
Bead art in India dates back to Indus Valley Civilisation and is said to be 5,000 years old. People during that age made beads out of silver, gold, clay, ivory and even wood. Indian jewellery, made out of various stones, pearls and metals stands out for its uniqueness of design and craftsmanship. As much as we praise the magnificence of jewellery, the toil and talent of the master craftsmen usually escapes into obscurity and these unsung craftsmen are a classic example of hardly being recognised for their talent or effort.
Deeply personal art
Speak to them and each craftsman educates us through the vocabulary of beads. Individual beads act like words, strung together in sentences. Each craftsman on the sidewalk tells the story of beads and what inspiration triggered the design. These beaded objects are deeply personal and the men share bits about themselves, how the art was transferred from their forefathers and how they attentively followed the instructions — though they were tough to follow initially.
Nimble hands to the needle
One can actually see how the beads are dexterously moved from their nimble hands to the needle and string to create that exquisite design. These designs become a prized possession of a woman who proudly shares them with the world.
Many cultures have rich beadwork traditions and aesthetics and motifs can vary. Like other traditional craft forms, such as embroidery or weaving, beadwork symbolises visual language and messages that are passed down within a community or family. Their works simultaneously keep their culture’s traditions alive apart from providing them livelihood.
Adding beauty to clothing
Embroidery has been the art form that adds beauty to clothing to express individual creativity. Beadwork is respected as a traditional craft and there are amazing bead artists who are blurring the boundaries of art and craft, creating works of art that reflect rich traditions. The craftsmen on Ashoka Road, undeterred by the chaotic traffic and surging pedestrians, are busy threading, stringing and modifying a variety of ornaments as per the demands of their customers. Star of Mysore caught up with these beadwork artisans who are seen with their small silver boxes comprising velvet trays, colourful threads, strings, needles and scissors.
These artisans have been into this profession from generations and have been eking out their living on Ashoka Road, which was known as Jewellery Bazar during the time of erstwhile Maharajas.
Replacing threads and strings
Bead-makers, also called ‘Patvegar’ or ‘Moti Puranewale’ in Hindi and ‘Mani Ponsouru’ in Kannada offer a range of services which include black beads stringing for mangalsutra, jaumala haar, white pearl stringing, kasina sara or galsar (gold coin necklace), lachcha, replacing threads and strings of necklaces, adding gold thread rope for gold necklaces, multiple bead stringing, replacing stones among others.
Various branded jewellery stores across the city also avail their services for stringing beads of precious stones such as emeralds, rubies and also semi-precious stones. Their service charges depend on the pattern, starting from mere Rs.30 and could go up to Rs.800 for real gem stones.
Passed on from forefathers
My forefathers have been into this profession from the past 60 years. I too picked up my beading needle and thread watching them do it since childhood. Our work is related to jewels so we sit near jewellery stores,” quips Syed Rafiq, one of the beadwork artisans with more than 30 years of experience.
He also adds that his father Nisar Ahmed is one of the oldest beadwork artisans and informs that his father had worked as a jewellery artisan even for the royals during those good old days.
From Royalty to Commoners
Mubarak Pasha, another bead maker who is into stringing from the past 20 years and also hails from a family of artisans told SOM: “My grandfather and my father got me into this line. I usually get customers who want me to string ‘kasina sara’ and ‘taali sara’. I charge between Rs. 30 and Rs.100.”
He also mentions that his father too had worked on the ornaments like the braid jewellery belonging to the royal family. When asked if he would pass on the craft to his children, he opines: “It is left to them to decide what they want to do”.
Bringing good fortune
Little further away was a father-son duo busy stringing pearls on the same street. Abdul Wajid, who has 56 years of experience in this art says: “This is my livelihood and passion. The variety of beads that I work on not only suffices the aesthetic sense but has also religious angle to it. Genuine pearls were believed to bring in good fortune and were popular with the royals in olden days. Gradually common man took a passion towards them. Black beads are also known to fight negative energy.”
Abdul Wajid also adds that the most special work till date he has worked on is the jewellery belonging to the Palace. Zabiullah, who was seen sitting opposite to the Arali Mara on Ashoka Road, has an experience of over two decades.
“This is a delicate art and we have to carefully string it, the love for jewellery in Mysuru can be judged from the presence of many jewellery shops. Customers keep me busy all day,” he says as he replaces a string of an antique pearl set.
Time and cost saving
As we converse with these talented artisans, we noticed that many customers visit these craftsmen to avail their services. “I have come here to attach a coin pendant to the black beads for the ‘mangalsutra’ for my daughter who is getting married next month. Availing services here saves a lot of time and it is also low on cost,” says Gowramma, a locality resident.
Rehana Afroz reveals her reason for the visit. “The pearl necklace that I had once brought from Hyderabad was broken by my child and I am here to get it stringed again and also to change the back rope ‘Dori’ of my multi-layered beaded necklace.”
“I have purchased the beads and I want to get a ‘jaumala’ done here with knots and I also have to replace a stone in my ring,” says Kavitha, a housewife.
These beadstringers are available from 11 in the morning to 8 in the night at their respective spots. We salute these skilled craftsmen who eke out their living by sitting on the pavements beating all odds and help womenfolk enhance their beauty through their delicate and dedicated work.
source: http://www.starofmysore.com / Star of Mysore / Home> Feature Articles / by Shadaan Muneer / September 14th, 2019
Salma Sultan , the iconic news anchor of the public service broadcaster, Doordarshan graced the ramp at the age of 72. The elegant lady mesmerised the audience with her dance moves on Bollywood numbers including the R. Rajkumar’s movie song, ‘Saree kay fall sa.’
The event was organised by Saree Sanskriti in association with the Fashion Lifestyle Magazine. Celebrities including Padma Shree awardee Shovana Narayan, graced the event.
Key Takeaways:
Iconic Doordarshan news anchor Salma Sultan walks the ramp at 72.
Sultan is best known for her news reading and her signature style – “Namaskar! Aaj kay samaachaar iss prakaar hain.”
The event was organised by Saree Sanskriti in association with the Fashion Lifestyle Magazine.
Celebrities including Padma Shree awardee Shovana Narayan, graced the event.
Sultan was wearing a brown bordered saree along with some neatly tucked white flowers on her hair while using ‘jhumkaas’ as the elegant accessory. She managed to get a traditional look with a modern twist.
Saree Sanskriti
Along with being a new anchor, Salma Sultan is also keen on promoting the traditional Indian culture of Saree. She owns a clothing brand with the name, Saree Sanskriti. She herself is very famous for her sartorial style.
“I do not believe millennials have any problem wearing the saree, it is all about ensuring that they have confidence. When confidence is there you can pull off any attire,”
“It is a very happy occasion . Many people have come together to make this a successful event. I do not believe millennials have any problem wearing the saree, it is all about ensuring that they have confidence. When confidence is there you can pull off any attire,” Sultan said at the event.
Her style quotient
“We were our own fashion consultants back then. Black-and-white TV offered us the facility to wear whichever colours we wanted to, but the onset of colour TV shattered it. A new sari a day I could manage, but matching blouses? No way. It was a pretty tall order. So, the idea of draping a sari over both shoulders came to my rescue and believe me…it works even now.” said Salma Sultan while conversing with the Verve .
Sultan also gave some details about her style quotient to the Verve. She added, “The day when I plucked a red rose from my garden, I hadn’t the faintest idea that its story would become viral. Can you imagine that even now, the rose fever is unabated? Yes, it did give heartburn to some people helming affairs at that time, who issued memos and warnings but…let’s leave it at that. The important thing is that the rose lives on in the memory of viewers, and I feel grateful and humbled.”
Sultan is best known for her news reading and her signature style – “Namaskar! Aaj kay samaachaar iss prakaar hain.”
News reader par excellence
She worked for Doordarshan for almost three decades from 1967 to 1997. After her retirement, she moved to directing serials on social topics for Doordarshan under her production house Lensview Private Limited. Some of her serials like Panchtantra Se, Suno Kahani, Swar Mere Tumhare and Jalte Sawal drew attention and indeed became very famous.
Her education
Salma did her schooling from Sultanpur, Madhya Pradesh and did her graduation from Bhopal. She did her post-graduation in English from Indraprastha College for Women, Delhi. Simultaneously, she also gave the audition for an announcer on Doordarshan at the age of 23. She was born as second child to scholar and secretary in the Ministry of Agriculture Mohammed Asghar Ansari.
Picture credit: You Tube
Udisha Srivastav is an intern with SheThePeople.Tv
source: http://www.shethepeople.tv/ SheThePeople / Home / by Udisha Srivastav / September 18th, 2019
Sathar, who made his debut in Malayalam movie Bharyaye Aavashyamundu , has acted in over 300 movies, including Tamil and Telugu films
Veteran actor Sathar, who figured prominently in South Indian films in the 1970s and 80s, died in a private hospital at Aluva near here early on Tuesday. He was 67.
He had been undergoing treatment for liver-related ailment for the last three months. The body was taken to his house at Kadungalloor and will be laid to rest at the Juma Masjid at 4 p.m.
Sathar made his debut in the Malayalam movie Bharyaye Aavashyamundu directed by M. Krishnan Nair in 1975. He was the lead actor in Anaavaranam released the very next year.
He, however, made his mark as an actor for his portrayal of villainous roles, including in the hit movie Sarapanjaram. Sathar has over 300 movies to his credit, including Tamil and Telugu films. He also produced three movies, including the Babu Antony-starrer Malayalam movie Kambolam in 1994.
Inactive in movies since 2003, Sathar made a brief comeback with notable roles in 22 Female Kottayam in 2012 and Natholi Cheriya Meenalla the year after. His last outing as an actor was in Parayaan Baakki Vechathu in 2014.
At the height of his acting career, Sathar married his popular co-star Jayabharathy in 1979 though they got separated later. Their son Krish J. Sathar had made his debut in Ladies and Gentlemen starring Mohanlal.
Krish was by his father’s side at the time of his demise.
Sathar was born in Kadungalloor near Aluva in 1952 as the ninth child of Khadarpillai and Fathima. He did his schooling at the Government High School, West Kadungalloor, and his Masters in history at UC College, Aluva.
source: http://www.thehindu.com / The Hindu / Home> News> States> Kerala / by Special Correspondent / Kochi – September 17th, 2019
The city has many structures built during the time of Nizam Mir Osman Ali Khan Bahadur
A kilometre away from Kalaburagi railway station is Aiwan-e-Shahi, a magnificent stone structure built in early 19th Century. For political leaders and bureaucrats visiting the city, it’s the most preferred accommodation.
Kalaburagi has several such architectural remnants of the times of the Nizam rule, uniquely Indo-Islamic in style, and still in use. Nizam Mir Osman Ali Khan Bahadur, the last monarch, who ruled the province between 1911 and 1948, stayed in Aiwan-e-Shahi when he visited the city and is today a government guest house. The Nizam used to travel in his own train from Hyderabad to reach the palace in Kalaburagi and a special railway track was laid up to the entrance of the complex for the purpose.
Like most buildings constructed during the Nizam’s rule, the Aiwan-e-Shahi portrays a rich and imposing architecture synthesising medieval and modern styles. It is constructed using local white stones, popularly known as Shahabad stones, abundantly available in the surrounding area. The front view of the palace was greatly inspired by Gothic style architecture.
Kalaburagi-based heritage collector and artiste Mohammed Ayazuddin Patel has copies of some rare photograph of Nizam. In one of them, he is the Nizam is seen playing tennis outside the Aiwan-e-Shahi palace complex. His train is also visible in the background. The picture was said to have been taken by Raja Deen Dayal, the official photographer at the Nizam’s court.
The Nizam, known as the architect of modern Hyderabad, left an impression on Kalaburagi too. The building now houses the tahsildar office, zilla panchayat and central library. The entrance arch gate of Vikas Bhavan, the mini Vidhana Soudha that has the district administrative complex and one of the entrances of Mahbub Gushan Garden in the heart of the city were built during his time. There are several private houses across the city that were built for the families of Deshpande, Deshmukh, Mali Patil, Police Patil, Jamadar, Mansafdar, Pattedar, Inamdar, Jagirdar, Kulkarni, Hawaldar – the official and administrative titles given by the Nizam.
“At least, the Aiwan-e-Shahi should be included in the protected monuments and converted into a museum to showcase the region’s cultural past,” says Rehaman Patel, Kalaburagi-based researcher and artiste. According to him, the Nizam had expanded public spaces such as parks, lakes, town hall, and gardens in the city engaging several engineers. Mahbub Sagar (now called Sharnbasweshwar lake) and Mahbub Gulshan Garden continued to be used by the public. The town hall is used by the Kalaburagi City Municipal Corporation as a conference hall.
The Filter Bed built for providing pure water to the residents continues to supply drinking water to parts of the city. The Mahbub Shahi Kapda Mill that produced high-quality cloth and supplied it not just to various cities across India, but to other countries as well, was in operation till the 1980s. The Nizam had also established Asif Gunj School and MPHS school, the oldest educational institutions of the city.
“In the early 1930s, he formed the Hyderabad Aero Club and built Begumpet Airport for his Deccan Airways, one of the earliest airlines in British India. He had the distinction of employing, perhaps, the world’s first woman commercial pilot, Captain Prema Mathur, during the late 1940s. The other airport built in Bidar in 1942 is now used by the Indian Air Force to train its pilots. The Nizam was also credited for renovating several monuments belong to Buddhists, Jains, Chalukyas, and Bahmanis. The renovation and excavation of the caves of Ajanta and Ellora was undertaken with the funds of the Nizam government and supervised by then archaeology director Ghulam Yazdani,” Mr. Rehaman said.
source: http://www.thehindu.com / The Hindu / Home> News> States> Karnataka / by Kumar Buradikatti / Kalaburagi – September 16th, 2019
Feroz Shah Tughlaq (Reign 1351 – 88), the third ruler of the Tughlaq Dynasty was embarked on a vigorous campaign of construction activity, consisting mainly of public buildings of utilitarian nature.
He made 1200 garden around Delhi and is credited with the erection of 200 towns, 40 mosque, 30 villages, 30 reserviors, 50 dams, 100 hospitals, 100 public baths and 150 bridges
In 1354 Feroze Shah Tughlaq built Feroz Shah Kotla or Firozabad, the fifth citadel of Delhi. His predecessors Ghiyasuddin Tughlaq (Reign: 1321 -25) and Muhammad bin Tughluq (Reign: 1324 – 51) has the credit of erecting the third and fourth citadel of Delhi.
Tughlaqbad, the third citadel of Delhi, along with Jahanpanah, the fourth citadel of Delhi were abandoned because of acute water shortage. This lead Feroze Shah Tughlaq to move further north and to construct its citadel along the west bank of Yamuna River.
Unlike Tuglaqabad, Feroz Shah Kotla lacked the defensive construction and after the collapse of the Tuglaq empire the Mongol invader Timur found it an easy target. In 1398 Timur gladly carried out all the riches of the citadel leaving behind the ruined rubble structures, which was again plundered and reused by Shahjahan (Reign AD 1627-57) for the construction of Shahjanabad, the seventh and last ancient citadel of Delhi.
Despite being plundered by several rulers in the past and with centuries of neglect Feroz Shah Kotla still houses several interesting ruins, although minimalistic in nature, they still reveal the former glory and splendor of the ancient citadel.
Today the ruins of Feroz Shah Kotla nestles between the cricket stadium, of the same name, and the Ring Road. Every Thursday thousand of visitors visit the ruins of the ancient citadel.
Strangely these visitors are not history or heritage enthusiasts but are devotees looking for the blessings of Djinns, who according to legend are residents of the ruins of Feroz Shah Kotla. No wonder Delhi has always been a “City of Djinns.“
Djinns live in the heart of Delhi: they are spirits tending to the faithful seeking help. On Thursdays, they are busy when thousands turn up with letters for them.
Every Thursday hordes of devotees, irrespective of religion, visit the ruins of Feroz Shah Kotla with photocopies of letters, citing there problems. They stick the letters on different strategic spots of the citadel and offer prayers to the Djinns.
Strangely the concept of letters to the Djinns has only been an recent concept in the ancient citadel, which dates back to the 14th century.
The first records of people coming to Firoz Shah Kotla in large numbers began shortly after the emergency of 1977.
It was only in 1977, a few months after the end of the Emergency, that we have the first record of people starting to come to Firoz Shah Kotla in large numbers. This seems significant, given how destructive the Emergency was for the Old City and how many poor and working class people were displaced from the Old City to resettlement colonies across the river
Anand Vivek Taneja, Anthropologist
Even on other days large groups of Muslim devotes visit Feroz Shah Kotla to offer their Namaz at the Jami Masjid, one of the few structures of the citadel that have remained, more or less, intact to this day.
Designed by Feroz Shah Tughlaq’s state architects Malik Ghazi Samana and Abdul Haq the citadel of Feroz Shah Kotla follows a rectangular plan with dimensions 800 m by 400 m, with the longer side along the north – south axis.
The entire citadel is encased within a high stone wall. Although the walls look solid but it lacks the massive bastions of Tuglaqabad. The entrance is through a small and simple gateway on the eastern side and a broad passageway leads to the scattered ruins of Feroz Shah Kotla or Ferozabad
Most of the buildings within the citadel are made of rubble masonry covered with heavy plaster and without any surface ornamentation.
The passages leads to series of scattered ruins, which was once part of the citadel’s garden.
It leads further to the Diwan – i – Am (hall of audience) and Diwan – i – Khas (hall of private audience).
A few pavilions and archways are all that remains today of the famed halls of audience of Feroz Shah Tughlaq. The Royal Palace located at the far end of the citadel lies in similar ruined condition.
The more intact and interesting structures of Feroz Shah Kotla are located on its northern side. Towering above the lawns is the massive Jami Masjid and towards its left is the stepped pyramidal structure, known as the Hawa Mahal or Kushk-i-Shikar. It is crowned with the Ashokan Pillar, also referred as the Minar-e-Zarreen.
Just in front of the stepped pyramidal structure is a baoli (stepwell).
Delhi is no stranger to Baolis and even a century ago more than a hundred of them existed in Delhi.
Today more than a dozen remains (Also see: Baolis of Delhi) but what makes the Feroz Shah Kotla baoli unique is its circular shape. It is the only circular baoli in Delhi. Sadly the baoli is kept under lock and key and the interiors are out of reach for the common tourist. But the baoli is best viewed from the differnt levels of the nearby stepped pyramid.
The Hawa Mahal is a three tired stepped pyramid with diminishing floors. Built with a central solid core and vaulted cells around it. Stairs at the comers lead to the uppermost terrace where the Ashokan pillar is planted.
The Ashokan Pillar was shifted from Topar in Ambala by Feroz Shah Tughlaq and placed atop the Hawa Mahal.
The 13 m high 27 ton pillar was shifted on a custom built 42 wheel carriage operated by 8400 men, which transported it to the banks of Yamuna River. From where it was transported by boat to Feroz Shah Kotla in Delhi
Incidentally Delhi contains another Ashokan Pillar, which was also shifted by Feroz Shah Tughlaq and placed near his hunting lodge on Delhi’s North Ridge, also known as the Kamala Nehru Ridge. (Also see: Historical Trail along Delhi’s North Ridge)
The structure is open to public and one can take the stairs all the way to the base of the pillar. The pillar still maintains its shining police and the inscriptions in Prakrit are clearly visible.
According to popular belief Laat (pillar) Waale Baba, the chief of the Kotla djinns, dwells in the Ashokan Pillar, which is also referred to as the Minar-e-Zarreen. Every Thursdaay devotees ties up their wish letters on the railing surmounting the Ashokan Pillar.
The top story of the Hawa Mahal offers grand bird eye view of the circular baoli (stepwell) and also the Jami Masjid, which lies on its southern side.
South of the Hawa Mahal lies the gigantic mosqque of Feroz Shah Kotla, the Jami Masjid. Built of Delhi quartzite stone. During the time of its construction it was the largest mosque in India.
The mosque rests on a series of cells on the ground floor and is approachable by a long flight of stairs leading to a domed pavilion gateway on the northern side. The grand dome pavilion, which once stood at the centre of courtyard has long vanished.
Even Taimur, who plundered Feroz Shah Kotla, was so impressed with the mosque that he commissioned a similar one in his capital Samarkhand. Even Shah Jahan constructed a underground tunnel connecting the Jami Masjid to his newly constructed citadel of Shahjanabad. The tunnel still exist but is sealed for obvious reasons.
Strangely the Jami Masjid is still an active mosque and attracts thousand of devotees during the time of eid. Even on normal days large groups of local Muslims along with Muslim office staff from nearby offices drop in for there daily namaz.
Colourfull plastic tanks, along the eastern wall of the ancient mosque, serve as a makeshift ritual wash (wudu) area for the devotees, who drop in to offer namaz.
Just outside the citadel of Firozabad or Feroz Shah Kotla, on a road divider lies the notorious gateway of Khooni Darwaza.
Nettara Sootaka by Rahmath Tarikere is a collection of articles written for different occasions in the last five to six years on contemporary writers and issues
What it means to write in Kannada at present as an intellectual or, to be more specific, as a literary and cultural critic? Keeping this question in mind, I would like to introduce Rahamath Tarikere’s Nettara Soothaka: Dharma, Rajakarana, Samskriti, Sahitya (Spectre of Bloodshed: Religion, Politics, Culture, Literature), a collection of articles written for different occasions in the last five to six years on contemporary writers and issues.
Rahamath Tarikere, one of the makers of cultural criticism in Kannada, has been a prolific writer. His research into the culture of Sufis, Nathapantha, Shakthapantha and Moharum of Karnataka is an exemplary field-work investigation in Kannada scholarship. Apart from travelogues, his scholarly engagements encompass writings on literary texts and cultural issues, literary criticism, research methods, edited volumes on Kannada literature, and interviews of intellectuals among others. He works largely in the field where literary and cultural studies intersect.
Tarikere has kept his writerly life alive by contributing pieces to journals and periodicals, and the present book, the sixth of his collected writings, consists twenty-two articles. Six articles in the early part of the book are reminisces of writers after their death.
Among these, Tarikere’s observations on the life and works of U. R. Ananthamurthy, Gauri Lankesh, Vasu Malali and M.M. Kalburgi are worth reading.
“Ananthamurthy: Kashtakalada Naitika Dani” (Moral Voice of Hard Times) — one of the best tributes to Murthy I have ever read in Kannada — delves deep into his intellectual and political complexities. Tarikere is at his best in identifying the archaeology of Ananthamurthy’s thought as ‘resistance’ (to structures of power and fascism), ‘dialectical mode of analysis’ (Right-Left, Kannada-English, Brahmin-Shudra, etc.), ‘dialogic’ and ‘transgressive’ (going beyond). Similarly, “M.M. Kalburgi: Kalakelagini Agnikunda (Fire-Pot beneath Feet)”, written in academic style, explores the philosophical underpinnings of Kalburgi’s research work against the larger backdrop of violence and intellectual life today.
This is a major point of departure for those interested not just in Kalburgi’s work but in Kannada research in general. Further, the portraits of writers and other eminent personalities including Dr. Rajkumar, celebrated Kannada film actor, Jawaharlal Nehru, N. K. Hanumanthaiah, B. M. Rasheed, Ramadas, H. S. Raghavendra Rao and A. K. Ramanujan have been sketched informatively in plain and clear prose.
The articles on Muslim and Sufi culture give a detailed account of the Muslim way of life in India. “Muslimarigobba Ambedkar Agatya” (Muslims Need an Ambedkar) and “Muslim Samudayada Sankathanada Tathvika Nelegalu” (Philosophical Foundations of Discourse on Muslim Community) and “Muslim Samskrutikalokada Swarup”(The Nature of Muslim Cultural World) unfold the dynamics of Muslim identity politics, socio-historical problems of Islamic culture and the formation of different discourses on Muslims. Those interested in understanding the nuances of Sufism and Islam will find these articles enormously useful.
One more article which deserves our attention in the collection is “Hyderabad Karnataka Sahitya: Chaharegalu” (Literature of Hyderabad Karnataka: Traces). It raises an important question about literary culture: what is the relationship between literary expression and its geo-political conditions? While sketching the uniqueness of literary culture in the region of Hyderabad Karnataka, Tarikere shows how it is unique and different from literary cultures in Dharwad and Mysuru regions. His insights in this article open up further scope for in-depth investigations into Kannada Literary Studies.
Overall, the articles in the book try to diagnose what ails our times, particularly how writing and intellectual life have become vulnerable. As the title of the book suggests Tarikere grasps it with the metaphor of bloodshed, modelled on how Sharanas problematized the interconnectedness of experience, acts and speech in ‘Nudi Soothaka’ (Spectre of Speech). The practice of Fearless Speech, according to Tarikere, has become the target of violence in the 21st century. In tune with this perspective, the book is dedicated to Dabholkar, Pansare, M.M. Kalburgi and Gauri. Throughout the book the reader can experience the author’s anxieties, concerns and aspirations about our socio-intellectual life in India. The book certainly contains some insightful articles which Kannada readers should not miss. However, some articles could have been left out from the selection. What is the rationale behind bringing out a collection of articles written for different occasions? A careful selection of articles, rewriting some of them when they go as part of a book and a long introduction that connects these articles on different themes would make the anthology more useful than merely compiling hitherto published articles.
Rahmath Tarikere’s prose, though wanting in liveliness, does not fail to convey what it intends to. However, his mode of analysis still remains largely ‘ideology criticism’, the modernist reasoning scrutinizing all types of issues. We need to go beyond the Marxist- ideology-critique and explore different forms of analytics as the nature of evil we are confronting today does not reveal itself easily to worn-out tools of analysis. It might be useful to examine cognitive structures of contemporary society, instead of resorting to ideology criticism. In this respect, a scholar like Tarikere can bank upon his own studies on Indian intellectual traditions such as Sufism, Nathapantha, Shakthapantha, etc. to develop new tools of analysis and grasp the reality differently, if not from the informed understanding of the western scholarship available in English.
If this project, further, calls for thinking how to shape the Kannada critical thought, I could not help but invoke the writings of, just to mention two critically important forerunners among several others, D. R. Nagaraj and Keerthinath Kurthkoti. The present Kannada literary and cultural criticism can fruitfully learn from their art of thinking, making powerful narratives and analysis.
Rahamath Tarikere also belongs to this tribe, and his individual talent certainly promises new modes of thinking and renewing this tradition.
source: http://www.thehindu.com / The Hindu / Home> Books> Reviews / by N. S. Gundur / September 05th, 2019
Hyderabadi Takbir Fatima is an architect, engineer and educator who is always on the lookout for projects that challenge her.
As part of Hyderabad Design Week, Takbir Fatima from Designaware is doing a series of workshops and installations leading up to the event. She is in the city to conduct workshops on design. “We’re experimenting with crowdsourcing the design process to bring together many minds to create something collectively.
Under the theme of Humanizing Design for Hyderabad Design Week, we are crowdsourcing through multiple activations leading up to the event, involving students, young designers, architects and children in designing installations and public art for Hyderabad,” says Takbir, who has completed her BArch from CSIIT School of Architecture & Planning (JNAFAU), Hyderabad, and an MArch (Architecture + Urbanism) from the Design Research Lab at the Architectural Association (AA) School of Architecture in London.
Born in Hyderabad, Takbir was shuttling on and off between Saudi Arabia and Hyderabad. She was inspired by one of the greatest architect in Hyderabad sparking her interest in the profession.
Highly creative, she has handled some challenging projects at a very low cost. One such project was a hilltop school located in Golconda. She explains, “Bright Horizon Academy is a charity school. The challenge was the Golconda fort, which has an outer wall and inner wall, which is a part accessible to the public.
The outer wall has a very old settlement as old as the fort. All these houses share a common wall. Everything is on a hill, so for this particular site we had to completely sheer rock and boulders. Half of the site was on the upper part of the cliff and half made up the lower part. It was quite challenging to navigate the terrain.
And budget was an issue as it was a charity school. We designed a building which uses low energy as much as possible, and with lot of windows and natural light in the centre. There is sunlight and natural ventilation in every part of the building. It has been awarded the silver rating by the Indian Green Building Council in 2018.”
For most of her projects here, Takbir follows Vastu in residential and commercial properties. “If the client is not particular, we do recommend the vastu, as the property will have a resale value,” says Takbir who was given the Telangana Young Architect award by the Indian Institute of Architects in 2016 and was also recognised as Emerging Architect of the Year by NDTV Design & Architecture Awards 2016.
Takbir feels that now there is lot of opportunities for design aspirants and she aims to bring design to as many people as possible. She wants to do away with the misconception that design is not affordable and not for common people. Currently, her company is handling a few residential projects, restaurants, series of workshops, etc.
source: http://www.telanganatoday.com / Telangana Today / Home> Personalities / by Madhuri Dasagrandhi / September 11th, 2019
Welcome to Veranda, a teashop in a Kerala village, where ideas flow as liberally as the tea, run by school dropout-turned-littérateur Shukoor Pedayangode
At first glance, the roadside tea shack with a blue poly tarp stretched on wooden poles seems nondescript. Shukoor Pedayangode, its 50-something owner, looks equally unassuming as he tosses the sweet milk tea back and forth from saucepan to glass before serving it to his customers. But don’t be fooled: both this chayappeedika (teashop) in Pedayangode village, about 35 km from Kannur, and the tea-seller are as special as it gets. Over the years, this teashop called Veranda has become a literary hub, with celebrity authors not just from Kerala but also from neighbouring Karnataka and Tamil Nadu gracing it with their presence.
When I meet Pedayangode, it is late August and he has just reopened Veranda after a longish break when his shop was submerged under the waters of River Bavali when it breached its banks earlier in the month. But Pedayangode’s spirit hasn’t been dampened: he is all cheer as he talks about the next literary gathering at his teashop, scheduled for September 29. The special guest at the event? Tamil author Perumal Murugan — copies of the Malayalam translation of Murugan’s Poonachi are displayed at the teashop.
Free for all
The school dropout Pedayangode began to organise informal monthly literary gatherings at his teashop some four years ago. And he has so far hosted 34 discussions. Among the Malayalam writers and poets who have visited are Paul Zacharia, M. Mukundan, Khadeeja Mumtaz, P.F. Mathews, Kalpetta Narayanan, Rafeeq Ahmed and N. Prabhakaran, a veritable who’s who. Kannada writer Vivek Shanbhag and Tamil writer B. Jeyamohan have also been there.
“I announce every event in advance on my Facebook page,” says Pedayangode. The events generally last three hours and the audience is free to express views on the book under discussion and interact with the author. For non-Malayalam writers, Pedayangode gets friends who speak the language to act as moderators.
A bookworm from childhood, Pedayangode used to devour anything he found in print. “I read Vaikom Muhammad Basheer’s Mucheettukalikkarante Makal (Card Sharper’s Daughter) when I was in Class V,” he says. He hated Maths, and after Class V, he started skipping classes since he dreaded his teacher’s wrath. Eventually, he stopped school altogether.
One of 12 siblings, Pedayangode started odd jobs to help the family along. He worked in quarries, sold fish. “I earned some money selling fish; that’s when I started buying books both to read and to sell,” says Pedayangode.
In fact, even as a teenager he used to write poems for richer friends who would buy him books in exchange. His published poetry collections are quite a few: Onpathu Pennungal (Nine Women), Nilavilikalude Bhasha (Language of Screams), Mazhappollal (Rain Burn) Azhangalile Jeevitham (Life in the Depths).
Novel idea
He even wrote a novel called Veranda, which would later become the name of his teashop. It’s apt, given the idea of open space it connotes. Pedayangode envisaged his shop as a free space for discussions. “I wanted to encourage the reading habit and create an ambience for healthy discussions devoid of restrictions or posturing,” he says.
The monthly gatherings are open to all. “Around 30 to 50 people usually attend,” says Ashraf Macheri, Pedayangode’s neighbour and close friend. Macheri, who used to run a printing press before moving to the Gulf, recalls how Pedayangode would visit his press to collect waste paper to write poems on.
Publishing houses give copies of their books for sale at the teashop; books of the author under discussion are sold on the day. Pedayangode funds the literary meets from the commissions he gets from book sales.
He also organises book fests in Kannur schools to promote reading among students. Pedayangode misses no literary event in the area. These days, he is regularly invited to local colleges to inaugurate literary events. And he does all this while reworking a novel he had finished and left unpublished four years ago.
mohamed.nazeer@thehindu.co.in
source: http://www.thehindu.com / The Hindu / Home> Books> Tea Time / by Mohamed Nazeer / September 07th, 2019
Surat , GUJARAT / Bombay (now Mumbai) MAHARASHTRA / London, ENGLAND :
Abdullah Yusuf Ali wrote perhaps the most famous translation of the Quran but he also supported the British against the Ottomans and died a lonely man.
On a frigid December morning in 1953, a policeman found a half-conscious old man slumped on a street bench in the Westminster area of London. He was in a delirious state and died a day later on December 10. Ali
That man was Abdullah Yusuf Ali, the famous 20th-century translator of the Quran. He died alone, homeless, and with no one by his side. When the news reached Pakistan’s embassy in London, it dispatched someone to pay for his last rites.
“It pains me to think that so able and eminent a gentleman should have met with so pathetic an end,” Mirza Abul Hassan Ispahani, Pakistan’s High Commissioner in London, wrote in a letter to his prime minister two days later.
Generations of Muslims in English-speaking countries have grown up reading Yusuf Ali’s interpretation of the Quran. More than 200 editions of it have been published so far, making it perhaps the most read commentary in any non-Arabic language.
“Ask any English-speaking Muslim what translation and commentary of the Quran they originally studied, and the chances are that it was the one by Abdullah Yusuf Ali,” writes a commentator.
Yusuf Ali’s work and affiliations solidify his place as a giant of his time. He was one of the most senior Muslim civil servants during the British Raj, rubbed shoulders with the likes of Mohammad Ali Jinnah and the Aga Khan, inaugurated the first mosque in Canada, represented India at the Paris Peace Talks in 1919, was a trustee of London’s oldest mosque, and a known educationist. He was also a prolific writer on Islam.
But how did a prominent Muslim like him meet such a terrible end? Why was he forgotten so quickly?
A child of his time
In 1915, during World War I, the British faced a dilemma. Nearly half a million soldiers were Muslims from the Indian Subcontinent — modern-day India, Pakistan and Bangladesh — which was then under colonial rule. Some refused to fight the Turkish Ottoman soldiers who had joined the war against the allied army.
A mutiny broke out in November of that year in Singapore where Indian Muslim soldiers turned their guns on officers and took control of the island. The uprising was quickly crushed and 70 Muslim men were lined up against a wall and executed.
The events shook British officials. Many Muslims considered the Ottoman Sultan Mehmed Reshad as their Caliph. Their personal affinity and strong connection led to the Khilafat Movement in India that called for boycotting the British.
Abdullah Yusuf Ali thought otherwise.
“Fight ye glorious soldiers, Gurkha, Sikh or Muslim, Rajput or Brahman!” he said in a November 1914 speech at a London event in front of top British military officials. “You have comrades in the British army whose fellowship and lead are a priceless possession to you.”
In his talks and articles throughout the war, he urged fellow Muslims to side with the British, at times doing it so effusively that his rhetoric appeared jingoistic.
“The Ottoman Caliph announces Jihad against the British and what does Yusuf Ali do? He goes around European countries asking Muslims to fight for the British,” Humayun Ansari, a professor of Islam at the University of London, told TRT World.
“He was consistently loyal to the British and considered the British Empire to be a blessing. In his understanding of Islam he was very liberal. He wanted a reconciliation between the Muslim and Western philosophy.”
Yusuf Ali was born in 1871 in Surat, western India, during a period of great introspection for the Muslims of India as their rule over the region for centuries came to an end and they were at the mercy of the English and a more politically organised Hindu majority.
Among the Muslims there was a realisation that they would have to study English, attain a modern education and learn British ways to get government jobs and regain their lost social status.
Yusuf Ali, who came from a middle-class family, proved to be an exceptional student throughout his school years and after matriculating from a missionary school, he won a scholarship to study at Cambridge University in London. The scholarship was given to only nine Indian students each year.
“We have to look at him in the context of his times. That was a generation when the British claimed superiority over the natives. And then you have somebody who can emerge and beat them at their own game,” says Jamil Sherif, who wrote Yusuf Ali’s biography titled Searching for Solace.
“Yusuf Ali’s approach was to show through his writing that Islam had made major contributions through the ages. But I think his compromise was that he saw religion mainly in spiritual terms and he saw socio-political dimensions of Islam as not really relevant in the days of empire,” he told TRT World.
At Cambridge, Yusuf Ali excelled in English composition, Arabic and other subjects. He also cleared the intensely competitive exam for the elite Indian Civil Service (ICS). In subsequent years, he rose to become perhaps the highest-ranking Muslim civil servant in India when he worked under Cabinet’s member of finance.
He was a devout Muslim, making sure he offered daily prayers, attended religious congregations and led prayers at the Shah Jahan Mosque in Woking, a town near London.
At the same time, he was against political Islam and insisted that Muslims could do better under British rule and that they should focus on educating themselves as opposed to agitating for independence.
Over the years, he remained affiliated with different institutions and also served as the principal of Lahore’s Islamia College – he was invited to take the position by the venerated poet Allama Muhammad Iqbal.
But behind the veneer of his intellect, busy schedule and scholarly importance, he was a man suffering from internal conflicts.
When the east meets west
Yusuf Ali was a troubled man. He married twice and both relationships ended bitterly.
In 1900, just a few years into his role as a civil servant, he married Teresa Mary Shalders, in a ceremony at the St. Peter’s Church in England.
“It was a bold and uninhibited act by the young couple, who may have looked at the dawn of the new century and thought everything possible – including the harmony of races, religions, and continents,” Sherif, who uses M.A. Sherif as his pen name, writes in his book.
But any hope of making a statement with this marriage of two different cultures faded in a few short years. They had four kids over the years but Yusuf Ali spent most of this time in India as a government officer while Shalders, who was in England, fell in love with another man.
Their divorce in 1911 was particularly painful for Yusuf Ali and he might have hinted at that period in the preface of his Quranic commentary when he wrote: “A man’s life is subject to inner storms…which nearly unseated my reason and made life meaningless.”
He won custody of their children but became estranged from them over time.
“These children by their continued ill-will towards me have alienated my affection for them, so much that I confer no benefit on them by this will,” Yusuf Ali later wrote in his will.
As an ICS officer, he rose swiftly from an assistant magistrate to more important positions, and the British government increasingly relied on him as its key propagandist.
Yusuf Ali was not entirely oblivious to the systematic discrimination that Muslims faced under British rule.
“He wrote about how Britain was using Indian revenue in the Great War. That’s a very subtle way of criticism. He also made references to discrimination suffered [by locals] on the basis of colour,” says Sherif.
In the early 1920s, Yusuf Ali married Gertrude Anne Mawbey, who he liked to call Masuma (innocent). That marriage didn’t work out either.
It was during this personal crisis that Ali began the monumental work of writing an English translation of the Quran, often working on solitary ocean liner journeys which he took at the behest of the British government.
“Yusuf Ali’s bond with the Quran was forged in these times of anguish when searching for solace,” writes Sherif.
Prominent scholars such as Marmaduke Picktall and others had already done a lot to introduce the West to Islam’s holiest book but Yusuf Ali did it with humility and open-mindedness which set his work apart.
“His interpretation is very balanced. It doesn’t force you to any particular corner, it can be read by all the schools of thought. It’s a very broadminded, compassionate approach to studying religion,” Sherif tells TRT World.
Yusuf Ali was a Dawoodi Bohra, a strain of Shia Islam, but he garnered enough respect across the spectrum to lead congregations at Sunni mosques.
“In his translation of the Quran, published between 1934 and 1937, Yusuf Ali expounded the spiritual side of Islam more than its worldly view,” writes A R Kidwai, a prominent researcher.
His excellent command over the English language lends a poetic touch to the thousands of footnotes and he didn’t shy away from using English poets such as Longfellow and Milton to explain the word of God.
Besides dealing with his matrimonial failures, he had a hard time coming to terms with what happened to Arab Muslims after World War I.
“Unlike many of his contemporaries, he did not criticise the League of Nations when it dismembered the Ottoman empire,” says Sherif. “But what really shook him was the proposal to partition Palestine.”
For someone groomed to believe that the English people were true to their word, the haphazard division of the Ottoman Empire and the creation of Israel was unsettling for Yusuf Ali.
In 1937 he attended many meetings and conferences fighting the case of Palestinians and warned Western powers about creation of a Jewish state on Muslim land.
“One way alone can bring thee peace:
That ancient rights be not suppressed,
That aliens from encroachments cease,
And Quds be given its rightful rest,” he wrote in the poem Palestine published in January 1938.
However, Palestine’s tragedy wasn’t enough to deter his loyalty to the British as he travelled to India at the urging of England’s Ministry of Information to rally Muslim support after it declared war on Germany in 1939.
In Delhi, he met Sir Sikandar Hayat Khan and spoke to students about the need for India’s support for the British. That was a time of turmoil in India as both Muslims and Hindus had begun rallying for independence.
Upon his return, he wrote articles and gave speeches, asking Indians to unite in defence of the empire and drop their demand for political reforms. But his appearance as an important player in international events quickly faded after the war ended in 1944.
We might never know what broke him in the end. But as the British pulled out of the subcontinent in the days of its waning global status, so did Yusuf Ali slowly recede from the newspapers, his powerful friends no longer found a use for him.
Yusuf Ali spent his last years living in the National Liberal Club on a monthly pension that he received against his government job.
“How did the British treat him? There’s certainly a question mark there. They didn’t recognise his contribution as much as he probably expected,” says Humayun Ansari.
His powerful friends in the Muslim community including Pakistan’s then ambassador Ispahani had also lost track of Ali’s whereabouts, not bothering to check on him.
“That is an indictment of the Muslim society that we were not able to honour and care for someone of his stature,” says Jamil Sherif.
Source: TRT World
source: http://www.trtworld.com / TRT World / Home> News> Magazine / by Saad Hasan / September 04th, 2019